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The big tradition, I think, is unity. And I have that in mind; and with that, you know, you could break all the traditions- all the other so-called rules, because they are stylistic.. and most are not true.

Roy Lichtenstein

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All my art is in some way about other art, even if the other art is cartoons.
ROY LICHTENSTEIN

Art Cartoon Even Some Way
Picasso’s always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.
ROY LICHTENSTEIN

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But usually I begin things through a drawing, so a lot of things are worked out in the drawing. But even then, I still allow for and want to make changes.
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Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.
ROY LICHTENSTEIN

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I think its the tension between what seems to be so rigid and cliched and the fact that art really cant be this way.
ROY LICHTENSTEIN

Between Cliched Fact Rigid Seem Tension Think Way
The big tradition, I think, is unity. And I have that in mind; and with that, you know, you could break all the traditions- all the other so-called rules, because they are stylistic.. and most are not true.
ROY LICHTENSTEIN

Artist Big Break Know Long Mind Thinking Tradition
A number of artists have done things with Mickey Mouse – including Claes Oldenburg and Andy Warhol. He’s such an American symbol, and such an anti-art symbol.
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Pop Art looks out into the world. It doesnt look like a painting of something, it looks like the thing itself.
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You know, as you compose music, you’re just off in your own world.
ROY LICHTENSTEIN

Compose Ideas Just Music Own Reality Thinking World
We’re not living in a school-of-Paris world, you know, and the things we really see in America are like this. It’s McDonald’s, it’s not Le Corbusier.
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I don’t think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.
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I think that most people think painters are kind of ridiculous, you know?
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We like to think of industrialization as being despicable.
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I was at Rutgers University, and that was a center for Fluxus in a way. But it wasn’t what I was interested in.
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There are certain things that are usable, forceful, and vital about commercial art. We’re using those things – but we’re not really advocating stupidity, international teenagerism, and terrorism.
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I like to pretend that my art has nothing to do with me.
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